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"Order" is an example of Hollenbeq's ability to play with the viewer's perception while simultaneously raising profound social questions. In this work, colorful, seemingly harmless forms combine to form a machine gun. The contrast between the playful aesthetics and the destructive function of the gun makes Order a powerful reflection on the duality of order and control. | more

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Silas Hollenbeq's work "Der Nimbusmäher hat gut lachen" is a subtle but penetrating critique of the mechanisms of modern society, which levels out the extraordinary and truncates the individual into the banality of the average. In typical Hollenbeq style, the work combines apparent simplicity with profound social reflection. | more

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The desert is empty. The sky above is infinitely blue, calm and indifferent. In the middle of this abstract stillness are six black exclamation marks, like an alien intervention, an attempt to mark - or overcome - the emptiness. Hollenbeq's work is an essence of his concept: art without a creator, meaning without a fixed anchor, emptiness that must be filled by the viewer. | more

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Hollenbeq's cat pictures are a radical attack on digital culture - a ruthless dismantling of our consumption patterns. Hollenbeq shows what happens when the superficiality of meme culture and cat pictures meets harsh reality: everything falls apart into fragments, nothing endures. His work forces us to reflect on the emptiness of the content we scroll through every day - a reflection of a world that simulates meaning in its masses without ever really delivering it. | more

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Hollenbeq's Crusade is far more than a critique of social media. It is a commentary on the inexorable spread of modern ideologies and the subtle, often invisible mechanisms by which they are embedded in our society. The work features the Facebook logo in a crusader red and draws on the symbolism of historical crusades to open up a deeper, sociological reflection on power, belief systems and the dynamics of influence.

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"Flower!" opens a door to a world in which the lines between the organic and the mechanical are not just blurred, but dance. In this world, a fan is no longer a simple machine, but is transformed - possibly through the eyes of artificial intelligence - into a flower. Not just any flower, but one that is vibrant, challenging and provocative, a silent protest against our hasty assumptions about what technology can recognize and interpret.

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The screens in Singularities radiate different colors, but they all share the same basic characteristic: they are empty. This emptiness is not accidental. It is a metaphor for modern society, in which individuality often only exists on the surface. The different colors symbolize the striving for uniqueness that is omnipresent in our culture. But the emptiness of the screens reveals the flip side of this singularity culture: the depth, the content, the essence often fall by the wayside. | more

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Birthday Concept 04 shows battery icons on a plain canvas. But behind this seemingly simple depiction lies a profound examination of time, energy and the human quest for meaning. Birthdays mark moments of new beginnings, but in Hollenbeq's work this new beginning also symbolizes the unstoppable: the discharge of time.

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Two garbage cans dance in a surreal void. The garbage cans, symbols of garbage and waste, become dancers in a "last dance" that seems both banal and existential. Their original function, associated with throwing away and forgetting, is suspended and transformed into a movement that refers to the inevitable: decay, the end and the question of what remains after the last dance - a minimalist yet profound symbol of our modern world, which draws order from chaos and meaning from what has been left behind.

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The skull grins. Not because it wants to, but because it looks like it. This unavoidable laughter seems mocking - as if it were smiling at human fear and desperate attempts to escape death.

The skull's grin thus becomes a symbol of an inescapable truth: death awaits each and every one of us, and no amount of repression or excuses will change that.| more

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The work "Art ends here" is more than just a large canvas with a simple message. The magenta-colored, mirror-inverted lettering on a light grey background appears minimalist at first glance, but it unfolds a conceptual complexity that highlights the relevance and originality of the work. In a time characterized by digital reproduction, the fragmentation of identity and the power of the copyable, "Art ends here" becomes a mirror of our society - a society that increasingly lives between reality and projection.

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Silas Hollenbeq's Ich überlebt sich is a seemingly minimalist work that reveals little at first glance: The word "ICH" is emblazoned on a brown canvas in mirror-inverted lettering. But behind this visual simplicity lies a profound reflection on identity, transience and the paradoxical idea of outlasting oneself. | more

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Silas Hollenbeq's Approach is a work that surprises with its simplicity and fascinates with its complexity. The word "Approach" is written on a plain canvas - mirror-inverted. This deliberate reversal of the reading direction may seem irritating at first glance, but it is precisely this irritation that is the key to Hollenbeq's conceptual exploration of perspective, purpose and the illusion of approach. | more

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Everything seems to be in balance until it tips over. Hollenbeq's "Taumelkonzepte" (Concepts of Instability) picks up on precisely this moment of uncertainty. Shapes loosely stacked on top of each other create the impression of a spinning top on the verge of spinning out. These compositions lead the viewer to the threshold of stability and chaos - a boundary that not only characterizes the works themselves, but also serves as a symbol for the fragility of the world.

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Hollenbeq's series of gigantic price tags on canvases is a provocative and pointed reflection on the value of art, the mechanisms of the art market and the superficiality of modern consumer culture. With his motto "Surface is Content", Hollenbeq gets to the heart of the relationship between surface, content and value - or empties it completely. But behind this minimalist aesthetic lies a complex commentary.